AT ISHAM’S
Setting and idea overbalance plot and characterization in this story, which hardly concerns itself with narrative form. True, it supports—rather than is supported by—an embryonic plot; and, true, the plot is marked by a struggle element in the guise of antagonism between two men. But the author is interested in his question and in the debate.
The starting point of the argument is this query, propounded by Norvel, at Isham’s restaurant: “If Mars is inhabited by a race so similar to ourselves, what means of communication between us is there so unmistakably of human origin that a sight of it or a sound from it would unmistakably convince them of our relationship?”
As suggestion after suggestion is dismissed, it seems to be clear that nature can imitate everything. Then Savelle declares that man can only imitate nature. Philbin retorts: “That’s contrary to every teaching of Christ you ever raved about.” Philbin goes away. Savelle continues to maintain that all that is human is imitation.
Then comes the great war. Philbin returns to Isham’s after five years, in the second of the world conflict. Depressed, old, and distrait, he announces that he has lost his son. He produces the bronze cross, bestowed upon his son for saving the lives of two fishmongers. Young Philbin was going back for the third when he was killed.
Norvel asks what part of nature Mr. Philbin was then imitating.
Savelle affirms, “It is the divine phenomenon of Calvary.” But Philbin replies, “When my son was alive, he was a man. I believe he, too, died like a man. I prefer that to an imitation of anything—even God.”
There is, then, no outcome; for the conclusion but emphasizes, further, the two separate views. A larger truth is conveyed, however, which as if incidentally usurps the end to which the story seems headed. It is this: Sacrifice of life for a weaker brother is either Godlike or manlike. With this dawning thesis in mind, the reader recognizes that Mr. Venable has answered emphatically the question set up in such stories as “Greater Love—” and “The Knight’s Move.” (See page 75.)
Are the views of Philbin and Savelle, in the end, the same each held at the beginning?